A Final Note from the Authors

We hope that you enjoyed these tutorials and that they have encouraged you to take up the satisfying adventure of lunar sketching in the media of your choice. The road to reaching and then surpassing your expectations might occasionally be a challenging one; however, the time you invest will amply repay you by increasing your visual observing skills as well as the quality of your sketches. No matter how well you achieve mastery of media or technique, Selene will inevitably present new sights and challenges through her ever-changing dichotomy of shadow and light. Changes in light angles produced by the 18-year Saros cycle mean that no two nights will ever be exactly the same, so even if you sketch every night that the Moon’s phase and weather permit, you can be assured that you will never run short of sights that inspire the lunar artist in you. Richard Handy, Deirdre Kelleghan, Thomas McCague, Erika Rix, and Sally Russell

R. Handy et al., Sketching the Moon: An Astronomical Artist’s Guide, 211 Patrick Moore’s Practical Astronomy Series, DOI 10.1007/978-1-4614-0941-0, © Springer Science+Business Media, LLC 2012 Appendix A

Observing Forms

213 214 Observing Forms Observing Forms 215 Appendix B

Glossary

Acrylic paint Fast-drying water-based paint that contains pigment suspension in acrylic polymer emulsion. This paint can be diluted in water during application but will become water resistant after drying.

Anchor marks Points of a sketch in which all additional markings are referenced to for sizes and positions. Antoniadi scale Scale used to record atmospheric turbulence, devised by E. M. Antoniadi. I Perfect seeing with no quivering II Slight quivering with moments of calm III Moderate seeing IV Poor seeing with constant tremors V Very poor seeing to the point that it is near impossible to create a sketch Art gum eraser Soft, coarse rubber eraser that is useful for erasing large areas without damaging the paper. It tends to crumble and leave residue as it is used, so care must be given while remov- ing the residue off your sketch.

217 218 Glossary

Artist’s palette (with deep wells) Container with multiple wells (mixing areas) for paint or ink. Glazed ceramic flower palettes are recommended as they do not stain and are easily rinsed clean. Because they are heavy, they stay firmly in place when in use so are less prone to spillage. Lightweight plastic palettes may stain during use but they are far cheaper and will otherwise work just as well.

Bulb air blower Rubber device used to manually blow contaminates off lenses or paper. Can be found in photography shops.

Blending stump Tool used for blending markings made by graphite, charcoal, or pastels. Similar to a tortillon, it is made of tightly wrapped paper, felt, or leather and is pointed at both ends. It gener- ally produces a softer blend and has a broader stroke than a tortillon. Various sizes are available.

Carbon pencil Made from clay and lamp black (sometimes blended with charcoal or graphite). It has a fine, smooth grain with a matte finish. Carpentry pencil sharpener Plastic sharpener that has a wide opening allowing flattened lead car- pentry pencils to easily be sharpened. Some have multiple blades for both the vertical and hori- zontal edges of the pencil and work very well for sharpening Conté crayons. Chamois Soft leather cloth used for blending graphite, charcoal, or pastels. Especially useful for large areas or where very smooth blending is required. Charcoal (artist’s) Dark gray/black carbon substance made from heating wood in a kiln without air. It is available in a broad range of dynamic tones and is particularly useful for nighttime astronomi- cal sketching because of its matte, non-glare appearance while illuminating sketches with artificial lights. A fixative should be used to preserve the completed sketch. Glossary 219

Charcoal (compressed) Charcoal powder mixed with a gum binder to produce flat or round com- pressed sticks.

Charcoal holder Wood-handled mechanism used to insert and hold round sticks of charcoal for drawing.

Charcoal pencils Round pieces of compressed charcoal wrapped with paper or wood sheaths.

Charcoal powder Charcoal dust/powder that can be used over large areas of the sketch to tone the background or used to draw smoother areas of the sketch by means of a loaded blending stump. Charcoal powder can be purchased in artist-grade or you can gently shave the sides of compressed charcoal with a utility knife to form small piles of powder. Charcoal (vine) Round sticks of charcoal created by burning sticks or twigs of wood in a kiln with- out air. Willow is the preferred wood because of its even, fine consistency. Grades of hardness are available in soft, medium, and hard.

Charcoal (willow) Vine charcoal made from willow. Preferred for its even, fine consistency. Circle protractor Template tool that is useful for drawing circles on paper. Colored pencils Pencils that have wax-like bases with added pigments to produce a variety of col- ors. They are easily blended with each other and waterproof. 220 Glossary

Compass Technical tool used to draw circles and arcs.

Conté crayons/pencils Chalk and pencils consisting of graphite powder combined with clay. They come in an assorted range of hardness and color, producing rich textured markings. Both Conté crayons and pencils are softer than ordinary pencils and chalk and tend to smudge easily. They retain their rich color and adhere to the paper much better than ordinary chalk. Use of a fixative is recommended to preserve the finished sketch.

Cosmetic brush Soft-bristled brush that is normally used for cosmetics but that can be useful for brushing debris off of sketches. Craft knife Short, sharp blade mounted on a pencil-shaped holder that can be used for sharpening pencils and erasers. Craft needle Steel tool with various tip attachments that is intended for use with card crafting. When using with pastels, the needle attachment is useful for etching, while the other attachments can make interesting marks. The craft needle is thicker and stronger than a quilling needle and pro- duces a thicker marking. Cross-hatching Technique of shading by making a set of small repetitive parallel lines, then repeat- ing the process with an additional intersecting set of parallel lines. This results in a textured, yet overall fairly uniform shaded area. Cross-hatching is particularly useful in graphite pencil sketch- ing when shading broad areas. Daler-Rowney Bockingford watercolor paper An acid-free, fine-grain watercolor paper made from wood pulp, available in a variety of sizes and weights. Glossary 221

Daler-Rowney Canford paper Smooth medium-weight (150 g/m2 ) paper with a matte finish, ideal for pastels and Conté crayons.

Danjon scale Method used to rate the darkness of a lunar eclipse during the time of totality. This scale ranges from 0–4 (darkest to brightest) during totality of the eclipse. Drawing board A smooth surfaced board usually made from wood, hardboard or MDF, used as a support for single sheets or pads of paper. (Fig. 5.3.1 in Chap. 5 ) Many sizes and variations are available, some having in-built spring clips to hold the paper in place. Ideally drawing boards should be lightweight to remain comfortable in use. Dry cleaning pad Bag filled with fine grit-free powder that absorbs dirt and particles off sketching paper without abrading the surface. Easel Frame made of wood or plastic that holds paper or art boards in place while sketching. Easel, field Small wooden or metal easel that can be used outside. Easel, gallery (studio) Large wooden or metal easel that would be too heavy or cumbersome to easily set up or use outside. Eraser shield Thin metal sheet with various opening sizes and shapes that is used to make precision erasures without smearing.

Etching Technique of creating marks on a hard surface by cutting into it with a sharp tool; the tech- nique of using acid on a hard surface to create etched marks. Felt tipped (artist’s) pens Fade-resistant, acid-free, felt-tipped pens with an India ink pigmented formula. Most are water resistant when dry and are available in assorted precision tip diameters. These can be used in lieu of India ink with quills and are especially useful for stippling an entire sketch directly at the eyepiece. 222 Glossary

Fixative Spray agent used to preserve charcoal, pastel, and graphite sketches, preventing them from flaking and smearing. Workable fixatives are available that allow you to add additional layers to your sketch, spraying after each layer.

Gradation Transition of tone or color value. Graphite pencils Pencils that are made from a combination of clay and graphite encased in wood. Graphite typically lacks the dynamic range of charcoal, but because of its finer grain, has the abil- ity to create smooth, finer detail. Graphite markings tend to be shiny, especially compared to the matte finish of charcoal. This may create difficulty seeing the details of the drawing when sketch- ing under the glare of brighter lights, whether artificial or in direct sunlight. Graphite pencils (solid) Solid graphite pencils that are made entirely of woodless graphite but are otherwise similar to regular graphite pencils regarding consistency and dynamic range.

India ink Intense black ink used on absorbable media by dipping a brush or a quill into the ink to create broad strokes, washes and precise details.

Kneadable (kneaded) eraser Soft putty-like eraser that absorbs and lifts graphite and charcoal off paper. It can be kneaded and shaped for precision erasing and is best used for smaller areas. Glossary 223

Liquidtex Brand of mediums that work well on porous surfaces with a variety of effects. Loaded blending stump Process of rubbing or dipping the tip of a blending stump in graphite, charcoal, or pastels, and then drawing directly with the blending stump. Masking fluid Quick-drying latex solution used to block out areas of watercolor paint or ink while washes are applied, thereby retaining the white (or previously painted) paper surface underneath. Once the paint or ink has dried, the masking can easily be removed by gently rubbing it with an eraser or fingertip.

Masking tape Low tack sticky tape used for lightly securing paper onto a board. For many paper types, it can easily be removed without damaging the surface of the paper or leaving sticky residues.

Oil paint Slow-drying paint consisting of pigment and drying oil such as linseed oil. Can be mixed with solvents to change its viscosity. Oil pastels Waxy drawing sticks comprised of pigments mixed with a non-drying oils and wax binders. They are less powdery and have harder edges than soft pastels making them less likely to smudge and more difficult to blend in comparison. Paintbrush (round) All-purpose traditional paintbrush available in a wide range of sizes. The most commonly used sizes are 0–20, where size 0 is the smallest. The natural or synthetic hairs usually taper to fine points making these brushes suitable for precise strokes and detail work. Natural sable hair-type brushes, which are prized by watercolorists, are supple and have excellent paint-carrying capacities but are generally very expensive. Modern synthetic fiber brushes are far more economi- cal yet still have moderate-to-good paint-handling qualities and are equally suitable for ink wash sketching.

Painting knife Blunt knife with a flexible, non-sharpened blade that is used in place of a paintbrush. Comes in assorted styles, shapes, and sizes. There is usually a large crank between the blade and the handle to prevent the artist’s hand from touching the canvas. 224 Glossary

Palette knife Blunt knife with a flexible, non-sharpened blade that is used for mixing paint colors and other mediums on a palette before applying them to the canvas. Unlike a painting knife, the palette knife is symmetrical with a shallower crank between the blade and the handle. Pastels (soft), Mungyo Sophisticated chalk with wonderful rich gray tones, and pure black and white tones, that are excellent for lunar work. Pastels (soft) Chalk-like sticks comprised of rich pigments plus binders. The softer varieties, which generally have higher pigment content, are wrapped in paper to retain their integrity during the drawing process. Drawn pastel is very easily smudged and blended giving a smooth, matte finish but create a lot of dust in the process. Pastels are softer than Conté crayon and are readily erased; so finished sketches should be protected with a spray fixative or carefully covered when stored to minimize smudging. Pencil grade Classification for the hardness of pencils such as charcoal, graphite, and carbon. H = hardness (hard grade, lighter markings). F = fine point (medium markings). B = blackness (soft grade, darker markings). …5B-4B-3B-2B-B-HB-F-H-2 H-3 H-4 H-5 H… Pickering scale Scale used to record atmospheric turbulence, devised by W. H. Pickering, Harvard Observatory: 1 (very poor) through 10 (excellent). Quill Writing tool originally made from a feather. Ink traveled up the shaft of the quill when dipped into an inkwell allowing several lines of script to be written before reloading the shaft. Today, it is more common to use a dip (nib) pen that consists of a metal nib mounted on a holder usually made of wood or plastic. Most dip pens do not have shafts and the ink is held solely in the curva- ture of the metal nib allowing only a few words to be written before the need to reload with ink. Nibs come in assorted tip points and are very useful for stippling as well as cross-hatching and calligraphy.

Quilling needle Long, thin pointed needle on a wooden handle that is mostly used in creative card making. It is also useful to for etching fine lines while using pastels. (Fig. 2.1.7 in Chap. 2 ) Rite in the Rain paper All-weather writing or sketching paper that remains durable under extremely damp conditions. This paper is excellent for high-humidity areas where normal sketching paper loses its integrity. www.riteintherain.com Glossary 225

Sandpaper block Layers of fine sandpaper on a flat stick that is used for sharpening and cleaning tools such as blending stumps, tortillons, pencils, charcoal, and pastels. Sponge Man-made or sea sponges that have a variety of art uses such as blending, creating textures or patterns, and stenciling. They can be cut into various sizes and shapes specific to your needs.

Strathmore paper Acid-free recycled paper that comes in a variety of textures and weights.

Stippling Technique of producing degrees of shading by drawing small dots with a pen or paintbrush. Tortillon Tool made of tightly wrapped paper that is especially useful for precision blending of graphite, charcoal, or pastels. The tip can be sharpened to a fine point with sandpaper. Various sizes are available.

Triangulation Process of envisioning a triangle that connects two reference markings on a sketch that assists the proper placement of a third marking. Vinyl (plastic) eraser Soft non-abrasive eraser that is suited for lighter marked precision areas and can be sculpted with a utility knife specific to your needs. Smearing tends to occur if you try to erase darker markings or large areas. 226 Glossary

Watercolor paper Paper that is treated or sized so that it can accept color yet withstands repeated application of washes without the surface deteriorating. Watercolor pencils Pencils that are designed to create strokes on paper, be saturated with water, and then the markings spread with brushes; however, they can also be used without water to create fine, soft markings. X-Acto knife (craft knife) Short, sharp blade mounted on a pencil-shaped holder that can be used for sharpening pencils and erasers. Appendix C

Resources

Online Resources

Astronomical Sketching

http://www.asod.info/ ASOD – Astronomy Sketch of the Day http://www.cloudynights.com/ubbthreads/postlist.php/ Cloudy Nights Telescope Reviews – Cat/0/Board/Sketching Sketching Forum: friendly community of astro-sketchers discussing techniques, tools, and advice http://groups.yahoo.com/group/astrosketch/ Yahoo Astrosketch – sketching forum

Lunar

http://www.cloudynights.com/ubbthreads/postlist.php/ Cloudy Nights Telescope Reviews – lunar forum Cat/0/Board/lunar dedicated to the observation and appreciation of our Moon http://aa.usno.navy.mil/data/docs/RS_OneDay.html Complete Sun and Moon Data for 1 day http://www.inconstantmoon.com/ Inconstant Moon http://lpod.wikispaces.com/ LPOD – Lunar Photo of the Day http://www.lpi.usra.edu/lunar/ Lunar and Planetary Institute – research institute that provides support services to NASA and the planetary science community http://www.stargazing.net/David/moon/atlasindex.html Moon Image Atlas by David Haworth http://nssdc.gsfc.nasa.gov/planetary/planets/moonpage.html NASA – Lunar and Planetary Science: The Moon http://www.psrd.hawaii.edu/Aug00/newMoon.html PSRD: A New Moon for the Twenty-First Century, by G. Jeffrey Taylor: geological study http://the-moon.wikispaces.com/Rukl + Index + Map Rukl-Based Index to the Moon, by Jim Mosher

(continued)

227 228 Resources

Appendix C (continued)

http://www.lunar-occultations.com/rlo/rays/rays.htm The Robinson Lunar Observatory – Lunar Sunrise/Sunset Rays http://www.astrosurf.com/avl/UK_index.html VMA – Virtual Moon Atlas by Christian Legrand and Patrick Chevalley: freeware for all levels of lunar study and observation planning http://www.cloudynights.com/item.php?item_id = 1273 VMA Tutorial – Virtual Moon Atlas Tutorial for beginners on Cloudy Nights by Erika Rix http://cityastronomy.com/ Whitepeak Observatory – superb amateur site devoted to lunar geologic studies by Mardi Clark http://tech.groups.yahoo.com/group/lunar-observing/ Yahoo Lunar Observing Forum

General Astronomy

http://www.astrosociety.org/index.html Astronomical Society of the Pacific http://www.astronomytogo.com/ Astronomy to Go, education outreach organizations and home of the Yard Scope http://www.cloudynights.com/ Cloudy Nights Telescope Reviews – comprehensive, friendly community of amateur astronomers http://cleardarksky.com/csk/ CSC – Clear Sky Chart Homepage http://www.deirdrekelleghan.net/ Deirdre Kelleghan’s Astronomy Website http://solarsystem.nasa.gov/index.cfm NASA – solar system exploration http://www.pcwobservatory.com/ PCW Memorial Observatory by Erika Rix http://www.slackerastronomy.org/wordpress/index.php Slacker Astronomy with excellent Podcasts http://www.astroleague.org/ The Astronomical League http://beltofvenus.perezmedia.net The Belt of Venus by Jeremy Perez http://scienceworld.wolfram.com/astronomy/ World of Astronomy by Eric Weisstein

Recommended Books

Cook, J., The Hatfield Photographic Lunar Atlas , Springer Science+Business Media, LLC, New York 1999. ISBN-13: 978-1852330187 Cook, J., The Hatfield SCT Lunar Atlas: Photographic Atlas for Meade, Celestron and other SCT Telescopes , Springer Science+Business Media, LLC, New York 2005. ISBN-13: 978-1852337490 Grego, P., Astronomical Cybersketching: Observational Drawing with PDAs and Tablet PCs (Patrick Moore’s Practical Astronomy Series) , Springer Science+Business Media, LLC, New York 2009. ISBN-13: 978-0387853505 Grego, P., Moon Observer’s Guide , Firefly Books 2004. ISBN-13: 978-1552978887 Handy, R., Moody, D., Perez, J., Rix, E., Robbins, S., Astronomical Sketching: A Step-by-Step Introduction (Patrick Moore’s Practical Astronomy Series), Springer Science+Business Media, LLC, New York 2007. ISBN-13: 978-0- 387-26240-6 Hill, H., A Portfolio of Lunar Drawings (Practical Astronomy Handbooks 1), Cambridge University Press, New York 1991. ISBN-13: 978-0521381130 Rükl, A. (ed. Seronik, G.), Atlas of the Moon: Revised, updated edition, Sky Publishing Corporation, Cambridge, MA 2007. ISBN-13: 978-1931559072 Rükl, A. (illustrations), Sky & Telescope’s Field Map of the Moon, map edition, Sky Publishing Corporation, Cambridge, MA 2007. ISBN-13: 978-1931559225 Rükl, A. (illustrations), Sky & Telescope’s Mirror-Image Field Map of the Moon , map edition, Sky Publishing Corporation, Cambridge, MA 2007. ISBN-13: 978-1931559294 Wood, C., The Modern Moon: A Personal View , Sky Publishing Corporation, Cambridge, MA 2007. ISBN-13: 978- 0933346994 * You can support LPOD (Lunar Photo of the Day) when you buy any book from Amazon through LPOD: http://www. lpod.org/?page_id=591 Index

A Carpentry pencil sharpener , 218 Acetone , 10 Cassini , 185, 189 Acrylic base resin , 10 Catharina , 112, 115, 119, 185, 189, 190 Agrippa , 181–184 Cauchy , 64–68, 116–119 Alpine Valley , 185, 189 Central mountain , 16, 17, 21 Anchor marks , 217 Chalk. See Contè; Pastels Antoniadi scale , 217 Chamois , 1, 5, 53, 55, 82, 103, 106, 125, 173, Arago, environs of , 76–80 175–177, 218 Archiving , 195, 203–205 Charcoal Aristillus , 185, 188, 189 compressed , 2, 3, 53, 55, 82, 104, 124, 126, 219 Artist’s palette , 133, 218 pencils , 1–6, 53, 54, 56, 82–84, 86, 103–106, 123, Autolycus , 38, 185, 188 126, 174–176, 219 vine , 2, 219 Circle Protractor , 129, 130, 219 B Clavius , 21–24, 190 Basin rings , 120 Cleomedes , 27 Bessel , 33 Clothing , 195, 207–208 Binocular , 123, 144, 147, 160, 164–166, 205–207 Colored Birt , 100, 103–106 lunar eclipse , 166 Blending stumps pastels , 166–171 loaded , 46, 47, 55, 63, 83, 110, 130, 219, 223 pencils , 124, 125, 219 stumps rubbed in charcoal, pastels, and graphite (see Comfort Blending stumps, loaded) tortillon , 1, 2, 4, eyepieces , 206 53, 54, 82, 83, 103, 104, 106, 225 general , 195, 207–208 Bulb air blower , 218 observing , 195, 199, 205, 207 Bullialdus , 95, 96, 185, 192 Compass , 123, 124, 133, 173, 174, 206, 220 Bürg , 108, 110 Complex , 16, 18, 58, 61, 81, 91, 97, 112, 198 Contè crayons , 7–9, 17–22, 25–30, 32, 37, 58–61, 76–80, C 87–91, 108, 116, 124, 153, 156, 163, 165, Canvas , 94–98, 100, 195, 204, 223, 224 189, 196, 198, 218, 220, 221 Card stock , 202 pastel pencil , 7, 51, 87, 89, 91–94, 108, 110, 125

229 230 Index

Copernicus , 1, 15–18, 81, 154, 164, 171, 177, 182, 185, Dome 193, 204 Cauchy Omega and Tau , 117 Craft Needle , 163, 165, 220 Mons Gruithuisen Gamma and Delta , 149–153 Crater Dorsa/Dorsum Agrippa , 181–184 Oppel , 27 Arago , 76–80 Smirnov (Serpentine Ridge) , 69–75 Aristillus , 185, 188, 189 Drawing board , 11, 29, 49, 50, 76, 112, 133, 140, 150, Autolycus , 38, 185, 188 167, 202, 207, 221 Bessel , 33 Dry cleaning pad , 221 Birt , 104, 105 Bullialdus , 95, 96 Bürg , 108 E Cassini , 185, 189 Earthshine , 130, 142, 145, 173–177 Catharina , 112, 115, 119 Easel, field , 15, 23, 25, 26, 202, 221 Cauchy , 66, 116 Eclipse Clavius , 21 sketching , 170 complex , 16, 18, 81, 91 sketching in color , 159, 164, 166, 221 Copernicus , 1, 16, 17 umbral , 160, 168, 169 Cyrillus, 185, 189, 190 Ejecta , 1, 16, 17, 19, 32, 37, 81, 87, 90, 95, 97 Delisle , 181–184 Environs of Arago , 76–80 Diophantus , 181–184 Equipment. See also Light source or Eratosthenes , 11–15 Mounts equatorial platform , 10, 36, 48, 64, 75, Gassendi , 7–11 90, 93, 111, 162, 187, 206 Geminus , 1–7 eyepieces, viewing comfort , 195, 206 Hortensius , 153–157 observing , 195, 205 Hyginus , 54 seating , 207 Kepler , 81–87, 90 telescopes , 160, 191, 195, 205 Langrenus , 19 Eraser Maginus , 91, 93 art gum , 7, 18, 38, 58, 87, 90, 91, 108, 153, 159, 217 Maurolycus, 185, 191 kneaded , 3, 69, 222 Milichius , 154 Pink Pearl , 18, 38, 58, 70, 87, 90, 91, 153 Nicollet , 100 plastic (vinyl) , 29, 225 Parry , 181 shield , 33, 34, 45, 61, 73, 149, 221 Petavius , 185, 191 Eratosthenes , 11–15 Pitatus , 99 Escarpment. See Scarp Porter , 21, 22 Etching , 221 Prinz , 46 Eyepieces, viewing comfort , 195, 206 Proclus , 133, 135 Ptolemaeus , 192 Rosse , 96 F Rutherfurd , 21 Facial tissue , 33, 45, 61, 62, 73, 128 Schiller , 191 Fault. See Lacus Mortis Theophilus , 180 Filing , 173 Triesnecker , 60–62, 64 Fixatives , 163, 173, 203, 222 Tycho , 33, 100, 160 Wolf , 100 Craterlet , 3, 23 G Crisium Ring , 26 Gassendi , 9–11 cross-hatching , 13, 48, 113, 120, 121, 199, 220, 224 Geminus , 1–7 Cybersketching , 181–184 Gradation , 222 Cyrillus , 185, 189, 190 Graphite compressed , 197 pencils , 11–15, 33, 62, 150, 182, 195, 197, 224 D Danjon scale , 162, 221 Delisle , 181–184 H Diophantus , 181–184 Heating , 195, 208 Dobsonian , 10, 24, 28, 36, 48, 75, 90, 93, 100, 101, 111, Herschel, J. , 133, 137, 185 118, 128, 162, 166, 177, 187, 192 Hortensius , 153–157 Index 231

Humidity , 6, 57, 68, 86, 108, 127 Mounts Hyginus , 53–57 Dobsonian , 28, 162, 206 driven , 11, 15, 32, 52, 79, 115, 152, 171, 189, 206 equatorial , 206 I non-driven , 11 Identification, of sketched features , 195, 209 Mungyo soft pastels , 25, 94, 144, 224 Ink black , 43, 44, 137, 222 India , 42, 43, 133, 179, 183, 199, 221, 222 N wash , 132–139, 178, 179, 193, 199, 223 Nicollet , 100 white , 41, 45

O K Observing Kepler , 81–87, 89, 90, 95, 96, 164, 171, 177 equipment ( see Equipment) forms , 67, 209 Knife Oil craft , 76, 140, 167, 173, 174, 196, paint , 223 198, 220, 226 pastel crayons , 159, 160 exacto , 2, 124 painting , 223, 224 palette , 95, 97, 98, 100, 118, 224 P Paint acrylic , 94–96, 200, 217 L oil , 223 Lacus Mortis , 108–118 watercolor , 134, 223 Langrenus , 18–21 Paintbrush , 133, 143, 199, 223, 225 Light source Painting knife , 223 flashlight , 167, 197 Palette, artist’s , 133, 218 headlamp , 207 Palette knife , 95, 97, 98, 100, 118, 224 sketch lighting , 33, 81, 166, 208 Palus (marsh) Liquidtex , 94, 223 Epidemiarum , 28–33 Lunar Somni , 28 eclipse , 159, 160, 162, 163, 165, 168, 221 Paper eclipse, sketching with color , 160, 166 Artagain , 7, 10, 18, 37, 42, 58, 87, 90, 91, 93, 108, limb , 142, 145, 161 111, 119, 123, 125, 153, 173, 202 black , 9, 15, 18, 19, 21, 24–26, 28, 29, 37, 41, 42, 49, 58, 59, 76, 77, 79, 87, 89, 91, 93, 108, 109, M 116, 117, 119, 121, 125, 127, 140, 144, 145, Maginus , 91–94 147, 153, 155, 157, 159, 161, 163, 165–167, Mare (sea/maria) 169, 171, 173, 174, 189, 190, 192, 202 Crisium , 25–28, 37, 182 cartridge , 11, 112, 128, 150, 159, 200, 201 Imbrium , 37, 41, 185, 188 colored , 139–144 Orientale , 185, 186 copy. ( see also Cartridge) , 33, 128, 159, 173, 175, Serenitatis , 33–36, 69–71, 73 182, 195, 203, 204 Daler-Rowney Masking ‘Bockingford’ watercolor , 221 fluid , 134, 223 Daler-Rowney ‘Canford,’ 29 , 49, 76, 140, 167, 173, tape , 137, 223 202, 220, 221 Massifs. See Mons durability , 200 Maurolycus , 185, 191 Rite in the Rain, 11, 53, 65, 82, 85, 103, 201, 224, Media overviews , 196–200 sizes for sketching , 199, 217 Milichius , 153–157 Strathmore ‘Artagain,’ 18 , 37, 42, 58, 87, 91, 108, Mistakes, correcting , 33 119, 123, 153, 173, 202 Mons (mountain). See Montes Gruithuisen , 149–153 thickness/weight , 200 Pico , 41–45, 49–52 tooth/roughness , 200 Montes (mountain range). See Mons Apenninus , towel , 7–9, 33, 45, 61–63, 128, 130, 159–161, 197, 11, 37–41, 125 198 Harbinger , 45–49 watercolor , 132–134, 136, 179, 197, 201, 220, 223, 226 Teneriffe , 37, 41–45, 49–52 white , 33, 64, 65, 67, 81, 151, 159, 161, 163, 164, Moon. See Phases limb , 18, 25, 129, 161, 192 173, 186, 187, 189, 191, 201 232 Index

Parry , 1881–184 Rima (lava channel, rille) Pastel Ariadaeus , 58–61, 181–185, 190 colored , 166–171 Cauchy , 64–68, 116–119 grated , 116, 118, 163–166, 200 Hyginus , 53–57 Mungyo, soft , 25, 94, 100, 144, 224 Rimae (group of rilles) oil , 159–162, 198, 223 Bürg , 108, 110 pencil , 49, 50, 88, 91–94, 108, 125–127, 196, 198 Triesnecker , 58–64 Schmincke, soft , 144 Rite in the Rain , 1, 53, 65, 82, 85, 103, 201, 224 Sennelier, soft , 94 Rosse , 96 Pen Rupes (scarp) artist’s , 65, 182, 221 Altai , 103, 111–115, 119–122 black felt-tipped , 64–68 Cauchy , 65, 66, 116–119 white felt-tipped paint , 119–122 Recta , 103–108 Pencil Rutherfurd , 21, 22 carbon , 69–72, 197, 218 colored , 124, 125, 219 Conté , 8, 18, 37, 38, 58, 90, 153–154, 190, 192, S 196–197, 201 Sandpaper block , 7, 225 gradation , 179 Scarp. See Rupes graphite , 11–15, 33–36, 45–49, 61–64, 73–75, Schiller , 185, 191, 192 111–115, 128–132, 149–153, 159, 160, 163, Sea. See mare 182, 186, 188–191, 193, 195, 197, 220, 222 Serpentine Ridge. See Dorsa Smirnov pastel , 7, 49, 50, 88, 92, 108, 124–126, 196, 198 Sharpening watercolor , 197, 226 blending stump (tortillon) , 2, 54 Pencil grading , 224 pastels (chalks) , 140, 167 Permanent marker , 65, 199 pencils , 61, 88, 124, 226 Petavius , 185 Sinus Iridum , 164, 181–184 Phase Sketching first quarter , 128–132 binocular , 123, 160, 164, 165, 205, 207 full , 123–128 black on white , 10 gibbous , 133, 135, 137 color on black , 7–11, 15–33, 37–45, 49–52, 58–61, waning , 1 76–80, 87–94, 108–111, 116–119, 123–128, waning gibbous , 36, 108, 128–132 140, 161, 163–171, 173–178, 207 waxing , 48 color on white , 8, 36, 48, 64–68, 159–162, 207 waxing crescent , 139–144 Cyber , 181–184 waxing gibbous , 48, 132–139, 144–147 white on black , 8 Pitatus , 99 Sketch lighting. See Light source Planning, of observing sessions , 208, 228 Sponge , 163, 225 Plato , 41–44, 133, 177, 185, 193 Stippling , 64–68, 225 Porter , 21, 22 Storage of sketches , 203–204 Preservation of sketches , 202–203 Strathmore , 7, 18, 37, 42, 58, 87, 91, 108, 119, 123, 153, Prinz , 46, 185, 189 173, 202, 225 Proclus , 28, 133, 135, 164 Protractor , 128, 130, 159, 160, 206, 219 Ptolemaeus , 185, 192 T Technique cross-hatching , 48 Q etching , 221 Quill , 224 stippling , 225 Quilling needle , 25, 163, 224 triangulation , 66 watercolor, wet on dry , 132 Template circle , 140, 145, 167, 175 R Terminator , 1, 2, 7, 8, 16, 17, 23, 25–27, 29, 30, 46–49, Rays 51, 53, 69, 70, 73, 74, 76, 78, 91, 103, 108, crater , 131, 133–135, 137 113, 115, 116, 119, 120, 126, 129, 133–134, ejecta , 81, 87, 90, 96 136, 141, 142, 145–146, 149, 164, 175, 181, sunlight , 91 183, 189, 209 Resin, acrylic base , 10 Theophilus , 178–180, 185, 189, 190 Ridges. See Dorsa Tips, general , 195, 209 Rille. See Rima Tortillon. See Blending stumps Index 233

Triangulation , 54, 66, 225 Maginus , 91–94 Triesnecker , 58–64 Plato, 41–44, 133, 177, 185, 193 Tycho , 1, 33, 81, 94–101, 125, 133, 135, 160, 164, 171, 177 Watercolor paper , 133, 226 pencil , 226 V wet on dry technique , 132 Virtual Moon Atlas , 205, 208, 228 Wolf , 100 Wolff , 69 Wrinkle ridges. See Dorsa W Walled plain Cleomedes , 27 X Herschel, J. , 133, 137, 185, 193 X-acto knife. See Exacto knife